The still lives of the second period (inks) were completely imaginary: no object, no flower. All sprung from is imagination. He often started by cutting out pieces and then put them together, - and other curious personal technique that I found out by coincidence - he used kitchen paper and ‘tarlatane’ (a fabric that was used to give jackets a kind of stiffness), or a can with mineral water that he sprayed on certain parts of his work if he did not want certain inks to hold.
These works of inks of the following pages even the flowers are far more original and ‘to be remembered’ as Guidi put it, than his first steps in his work with gouaches or when he took up painting again after twenty years of pottery and sculpture. His refined style that is so characteristic of his artistic legacy is always there.
A WORD ABOUT THE FLOWERS
A bunch or flowers (nor a green plant for that matter) never or hardly ever entered the house because Guidi liked flowers in their natural environment and found it a bit barbaric and most of all absurd to pick them and ... let them die more quickly and depriving us of their natural beauty.
What’s more, Guidi dealt with the flowers ‘in spots’ and willingly did not paint them the way we know them; A little secret... to be quite honest, just like Ravel and his famous ‘Boléro’: Guidi did not really like this ‘flower period’ even though it is generally appriciated by the public.
Black vase holding white flowers and golden ciborium Quince and pears in a black dish in front of a golden vase